Saturday, November 30, 2024

Four Fabulous Music Doc Premieres Wendy Feinberg attended at the DOC NYC Film Festival this November:


YACHT ROCK: A DOCKUMENTARY on 11/13/24
I attended the World Premiere of this super entertaining “dock” filled with great music from the Yacht Rock genre. It featured the stories and mellow music of 70’s and 80’s bands and musicians such as Steely Dan, Toto, Michael McDonald, Christopher Cross, Kenny Loggins and more. I learned that the term “yacht rock” was coined for this “soft rock”, jazzy pop music over 20 years after the music became popular and was also reminded that classical music was not called classical music until many years after its creation. I was excited to find out that Academy Award-winning filmmaker, drummer, DJ, producer, director, New York Times best-selling author, and member of The Roots - Questlove (who appears in the film), was in the audience. I was disappointed that he wasn’t also included in the Q&A. The film debuted on HBO on Nov. 29th and I can’t wait to watch it again!


Photo: Director Garrett Price is in the center.


DISCO’S REVENGE on 11/14/24
I attended the International Premiere of DISCO’S REVENGE, which traces the evolution of disco music in the 70’s from its counterculture movement in the New York underground gay clubs to its mainstream commercial peak at clubs like Studio 54. The film weaves together firsthand vignettes and archival footage featuring such disco icons as Nile Rogers, Grandmaster Flash and Billy Porter. Watching this entertaining and revealing film brought back memories of when my late brother was invited by someone to attend Studio 54. He went with his newly married wife, my husband and myself and after waiting in line for quite a while, they let my brother’s wife, my husband and myself in, but not my brother. I had to go back and cajole them into letting the one who received the invitation into the disco.


 (From L to R): Karen McMullen, film subject DJ Nicky Siano and co-directors Omar Majeed and Pete Mishara


JANIS IAN: BREAKING SILENCE on 11/16/24

I attended the World Premier of the emotional and inspiring JANIS IAN: BREAKING SILENCE, about this American singer-songwriter who was most commercially successful in the 1960s and 1970s. Born Janis Fink, she is best known for her songs “Society’s Child” and “At Seventeen”. Her first big hit, “Society’s Child”, about an interracial relationship and released in 1966 when she was only 15 years old, led to a lot of controversy causing the record to be blackballed by many radio stations. The film follows her life from her Jewish childhood, growing up on a chicken farm in New Jersey to her early success and ultimately to the release of her 1993 album “Breaking Silence” where she publicly sings about her loving relationship with her wife. It was exciting for me to go down in the elevator at the Independent Film Center (IFC) to the theater with Ms. Ian before the start of the film. I admired her colorful shoes and she told me that she has owned them for years and that they were her favorite and so comfortable.

 


Janis Ian in the center with director Varda Bar-Kar to her right and some of the production crew.


BORN TO BE WILD: THE STORY OF STEPPENWOLF on 11/16/24

I was extremely excited to attend the North American Premiere of BORN TO BE WILD: THE STORY OF STEPPENWOLF and it did not disappoint. I can’t remember if I started following the band before or after “Born to Be Wild” was featured in the 1969 film EASY RIDER (one of the two most disturbing films for me at the time, along with DELIVERANCE), but their music definitely resonated with me from the first time I heard it. The film follows the founding members, lead singer John Kay (born Joachim Fritz Krauledat) and bass player Nick St Nicholas (born Klaus Karl Kassbaum), from their humble beginnings in Germany to their emigration to Toronto and eventually to the formation of Steppenwolf in 1967 in California. It is peppered throughout with stories surrounding the band’s tumultuous relationship, ultimately leading to its breakup, told through recent interviews with John, Nick, John’s daughter Shawn and other members of the band. We also hear from rock icon Alice Cooper, filmmaker/journalist Cameron Crowe and many more. Of course there is lots of archival footage of the band, much of which contains their magical music. During the post-screening Q&A it was wonderful to see John and Nick making peace with each other after many years of estrangement.


Photo on Left from L to R): Moderator, director Oliver Schwehm, Nick St. Nicholas, John Kay and Shawn Kay

I'm Still Here (2024)


Not to mince words I’M   STILL HERE is one of the very best films of the year. I’m talking about top five best of the year sort of film.

Based on  a true story it tells the tale of a former Brazilian legislator who was voted out around the time of a military coup. As he adjusts to civilian life the military tightens its grip and is watching those they consider enemies. When the legislator is asked to come in for a statement he disappears leaving his family to find answers and carry on.

I can’t say enough good things about this film the cast, especially Fernanda Torres, is stellar. The sense of place and construction of the tale is spot on. This is a nigh perfect film.

What I love about this film is something that other films about missing loved ones never do, and that is to have us spend time with the person the family is going to lose. In this case the third of the film is almost entirely focused in him. We get to know him and enjoy his company to the point when he disappears we feel it as much as everyone on screen. That may not sound like much but it’s a move that lifts this film into the stratosphere.

This film will rock your world.

I find it interesting that when the fil originally played the New York Film Festival people were quietly talking about the film and how good it was, but now as the film is in theaters for the awards push and more people are seeing it the quiet talk has turned into a loud din and people are talking about it with an excitement that is rare. I was recently at a couple of press screenings where the pre- screening talk became animated  when this film was mentioned.

This is one of the very best films you will see all year and a must see for anyone who loves good films.

Modern Problems (1981) Thanksgiving Turkey bonus


This is just a turd of a film. When it came out in 1981 it actually made some money, but no one talks of it any more.

MODERN PROBLEMS killed Ken Shapiro's Hollywood career. A promising writer and director, he had previously movie the TV spoof THE GROOVE TUBE which had Chevy Chase and Richard Belzer in it. (Which makes you wonder why Chase said MODERN PROBLEMS was Shapiro's first film and that Shapiro was not not a good director when he worked with him before)

The plot of the film has Chevy Chase's air traffic controller get the ability to move things with his mind. This causes him no end of trouble and his relationship with his girlfriend break.

Unfunny and incredibly mean spirited film was one of the many ruts on Chase's career. This is a film that makes you wonder why Chase took the role. He is a hateful character who uses his terrible new found power to do terrible things.  Yea he's an angry character but the things he does are just cruel and full of bad bathroom humor.

I don't know anyone who ever really liked it. Yes, I know people who watched it because it was on cable, but no one ever rented it when I was at the video store. and in the 40 years since it came out I've never heard of anyone saying they watched it or that they liked it. Hell I've never seen it ever play any revival theater. I know part of it is that Chase is not as well liked in many corners, his reputation as a cantankerous soul has over taken any feeling for any film of his that isn't Vacation or Fletch or Caddyshack.

I hate this film. I hate the ugliness of it. I disliked it so much that it lessened my feelings for Chase as an actor. I had fallen in love with him in the films he made with Goldie Hawn. After this film I stepped back because the glee he seemed to feel doing the cruel comedy.

I know this isn't much of a review but I just have no use for this film 

Friday, November 29, 2024

HOME KILLS (2023) is now streaming


If you want a kickass thriller that you can see with completely fresh eyes hunt down HOME KILLS on your favorite streaming service. This modern film noir from New Zealand is going to delight the crime lover in you and get bonus points because odds are you haven’t seen any of the actors before nor have you seen anything from the wonderful filmmakers.

The plot  has two down on their luck brothers offering butchering services to the surrounding farms. The trouble is with a name called Home Kills things just might be going to get out of control.

All hail the filmmakers headed by director Haydn Butler for they have fashioned a stunning little thriller. From the first frame to the last you are gripped tight in their clutches as the things from desperate to bad to worse. And since the film wasn’t made in Hollywood all bets are off about the survival of everyone on screen.

I had a blast and then some.

What I agreed to review as a break in the crazy wave of DOC NYC coverage, I mean I was figuring it was going to be a quick palate cleanse, ended up being a haunting film that I recommended to several of my noir loving friends  You need to see this.

Recommended.

The Penzance Movie(s) (1982/83)Thanksgiving Turkeys

In an effort to cash in the film version of the hit Broadway show of the PIRATES OF PENZANCE which had Linda Ronstadt, Kevin Kline (in his star making role), Angela Landsbury, George Rose and Rex Smith, the producers of THE PIRATE MOVIE threw boatloads of money into a similar project that starred Kristy McNichol and Christopher Atkins. Despite pretty much making it's money back (it cost 5.6 million and made 9 million at the box office)  it is considered a disaster and is a punch line to many jokes. While on the other hand, the Kline/Ronstadt version died at the box office (it was released on pay per view the same day it went into theaters and tweaked the show and made less than a million dollars because theaters were strong enough to tell Hollywood to F-off) but is now considered something special.

I saw both films/versions in the theater and I really haven't seen either since then. The reason I haven't seen the PIRATE MOVIE is that it never really was on cable and it wasn't something I ever felt the need to rent. PENZANCE was on cable and elsewhere but other than background music I never sat down and really watched it again.


THE PIRATE MOVIE is a kitschy attempt at madcap teen musical using the PENZANCE story as a frame work and new songs that mimic Gilbert and Sullivan and aren't as bad as you might think. It has lots of one liners, lots of groaners, and actually a reasonable amount of entertainment that on seeing it again I was kind of wondering why this doesn't have a dedicated fan base that has made it into something. I'm not saying it's great, but I do think the film is better than it's reputation suggests and I understand why I gave it 3 out of 4 stars when I saw it.

The plot has McNichol as an exchange student in Australia who goes to a pirate festival, and is left behind by the host family. Giving chase in  sailboat she get thrown overboard, is knocked unconscious and dreams a PENZANCE style adventure. 

It's not high art, but the clunkiness has its charm with a couple of the musical numbers actually being pretty good. You may not love it, but it wouldn't kill you to see it.


THE PIRATES OF PENZANCE died at the box office, which before it was released would have been a thing that wouldn't seem possible. Starting life as a free show in Central Park it proved so popular they moved it to Broadway where it wowed them and had pundits promising all sorts of good things to be spawned from it.

Moving the cast from theater stage to soundstage they made a film of the original cast using theatrical style backgrounds, removing a couple of songs and tweaking a few others. The result is a film that captures the stage play.

It was by, some accounts going to be a big deal when it was released. Riding high on the love of the Broadway show and the spiking popularity of the cast, I remember reading how people were saying that this was going to be the next big thing. 

Then the bottom dropped out. The producers made a deal to open the film on the same day it hit theaters on pay per view on cable. The hundreds of screens dropped to well under a hundred. The next big thing was detoured into the parking lot of the next big disappointment as the potential audience was decimated. While the film made a tiny bit of money, the experiment of same day release had gone horribly and essentially killed it.

The film itself isn't bad, It, like THE PIRATE MOVIE, has it's own issues, namely the fact that it isn't a film but a filmed stage play.  I'm not sure who thought the film would work like this but it was a bad idea since the film doesn't feel like anything but dress up. That can almost always work on stage, but if done as a film that is trying to be more than a film staged play, it's deadly.

To be honest I like the performances but the refusal to commit to either real or unreal really bothers me and creates a texture I don't want to revisit.  It even makes George Rose's Modern Major General song a bit less thrilling because we get the sense it could have been done in pieces.

It's not a bad film, but it's not a great one, which is why I never revisit it.

(Interesting aside- I had a discussion a few years back with someone who said that the pay per view debacle was intentional.  The producers realized that despite the popularity of the show and the hype they knew they were going to have a film that didn't play well with theatrical movie audiences. To that end they would roll the dice- perhaps get extra money from the curious - and then be able to write off the film as a noble failure to the backers by saying they tried. It was a way of saving face and getting a tax right off. I have no idea if it's true, but it was something I heard in a Broadway theater during an intermission discussion.)

Thursday, November 28, 2024

ARMAND (2024) opens for Oscar qualifying tomorrow before it's regular run February 7


A mother is called for a conference at her young son's school. Something has happened and Armand is alleged to be behind it. As she meets with the teachers, and the parents of the other boy, who happen to be her in-laws, things are not quite as straight forward as they seem.

Renate Reinsve gives one of the best performances of the year as Armand's mother. It's a performance that is completely unexpected and very human. What do I mean by this? There is a moment where in the middle of discussing the difficult events at the center of the story and she begins to laugh uncontrollably. At first it seems funny, then it seems out of place and then you realize it's something that makes you take a step back because the reaction, especially with the emotional collapse at the end is on target. Too many filmmakers and writers think that serious subjects mean serious and histrionic reactions. That isn't always the case. Reinsve should be in the Oscar mix because this is a glorious performance that is more real than almost any other you'll see this year. 

The film over all is very good. It's a gripping thriller that pulls you along. It's more interesting than most of the recent problem with children at school films that have hit the local multiplexes (say TEACHERS LOUNGE). I say this because the film is looking to throw its net wider and forcing us to look at the parents and administration and not just the kids. This is a look at parents and parenting and the things they do.

The problem with the film is that as the film makes a few choices that don't always work. Moving away from Reinsve's character gets us away from the the center of the film. She is the character we know best so there are moments of catch up when she isn't on screen.The other problem is the film adds in some subjective surrealism. While it helps explain the characters' head space it makes the film less real.

But I am quibbling. This is a really good film. It will both entertain you and give you something to think about.

Recommended.

Incredible Shrinking Woman (1981) Thanksgiving Turkey


From it’s release THE INCREDIBLE SHRINKING WOMAN has divided audiences. Some people loved the satire of consumerism and Science fiction and some people didn’t. I know the films reception kind of short circuited Lily Tomlin’s attempt at being a leading actress.

The film has housewife Tomlin beginning to shrink as a result of being exposed to everyday chemicals.  As she shrinks she becomes a celebrity. Some mad scientists kidnap her hoping to find away to shrink humanity.

While the film made money, the film was a critical disaster. Critics hated it.  While the critical opinion has changed over the years the film has remained a footnote in everyone’s career.

I saw it in a packed theater the opening weekend and I thought it was just okay. I thought, and still do, it was trying to do too much. I think it sacrifices laughs for making a point. I’m also not a fan of the look of the film. It has muted images with pastel colors, and it just feels wrong. I mean really wrong. It feels like an odd dream or as if we are watching a film that was damaged.

While the film made money I don’t think it really helped anyone’s career, though director Joel Schumacher skated on to a great career afterward (BATMAN AND ROBIN among others).

The question you are probably asking is why is this in this series of Turkeys if it made money. The reason is it’s a lost film of sorts. Time and tide pushed it aside.  It’s a film no one really talks about, or even really likes, I mean it’s okay, but that’s as far as it goes. In its way it’s a cinematic misfire. It was loaded into theaters, made a noise when the trigger was pulled and then went nowhere.

Is it worth seeing? As a footnote for everyone involved, but I would be hard pressed to give you a reason beyond that, it isn’t really funny, and its points were obvious even 40 years ago.

Wednesday, November 27, 2024

Placebo: This Search For Meaning (2024)


This is a look at the the group Placebo. Told in a combination of musical performances, archival footage, talking heads and "surveillance" footage of talking heads this is a one of a kind documentary.

I really like this film a great deal. It's a killer doc on a group that has always danced around my musical fringes. It's a music doc that does what the best ones do, and that is make me want to go out and buy their music.  I just enjoyed having the film connect  songs I knew  but wasn't certain of who they were by get connected up with the group name.

I really like how the film pulls us into the history of the group and lets us journey with them. Its a film that let's us know why the group mattered.  I really got a sense of them in the history of popular music.

If there is anything that is wrong with the film it's the conceit of having everyone not in the group who is being interviewed being done by hidden camera. It's amusing for a little while but it kind of becomes tiresome.  It's a quibble but it bothered me because there really is no reason for it.

This is a great film and is recommended.

QUEER (2024) and the “Problem” of Transcendent Desire


“It’s always nice to see places you’ve never been before…”

***

No, one can’t be blamed for finding QUEER overly disjointed and elliptical and, as a result, less than wholly satisfying. That’s kind of the point, though.

To be sure, the section set in the Ecuadorian rainforest is hit or miss at best, with many moments or even entire scenes somewhat goofy and low in ambition, with unnecessarily broad performances and poorly defined/realized spaces. In fact, audiences could be forgiven the creeping suspicion that they’re experiencing not simply a different movie but, in a sensation oddly more troubling, the same movie now under the guidance of a completely different filmmaker.  

Of course, the self-consciously trippy yage/ayahuasca sequence, chock full of mystical sensuality, not only redeems some of the pedestrian quality of that which preceded it, but also protagonist William Lee himself. In a sense, we’re set up: just as Daniel Craig’s Lee and Drew Starkey’s Eugene Allerton confide to each other that the native “vegetation” has had no apparent effect on them only to be stunningly awakened from this misperception, we’re lulled into thinking we’re in a place of disappointing conventionality only to have the rug pulled out from under us. Or perhaps the floor itself. Or the Earth itself.

Still, where is the dazzling movie, rife with visual voluptuousness and exhilarating music, that we thrilled to for the first hour or more? Our longing for a more user-friendly narrative, with Craig’s presence, equal parts dapper and decrepit, as the centerpiece, is palpable—and telling.

If there’s a running theme in director Luca Guadagnino’s work, evident in CHALLENGERS and BONES AND ALL (and arguably SUSPIRIA as well), it concerns the way we navigate our own “perverse,” almost inexplicable desires and, moreover, the unpredictable and chaos-inducing costs of obtaining the objects of those desires. With QUEER, he digs deeper. And that doesn’t mean his goal is to reframe or even mildly renounce sexual desire in favor of “connection,” whether emotional and metaphysical. The film’s coda, including its epilogue, make this clear; desire itself is never truly transcended, nor should it be, but rather transfigured. Yes, physical desire is often just that—physical—but it’s also an expression of our quest for meaning, and the urge to share that quest with another (the romantic’s view of love). In QUEER, those dichotomies of lust and love, of self-abusive intoxication and self-actualizing ecstasy, are revealed to be gloriously false. Desire itself perhaps can’t be resisted—but it can be questioned, accepted, valued, and made peace with.

The same is true of our own cinematic desire, and Guadagnino and writer Justin Kuritzkes partly give the game away in their quote of the Lacanian mirror scene from Cocteau’s ORPHEUS. Any dissatisfaction with QUEER, then, is not to debated—you don’t have to admire it as much as I do—but it can be instructive. The aesthetic narcotic of film is closer in nature to Lee’s drug abuse than to his obsession with Allerton, and QUEER plays expertly with these categories of addiction and their effect on potential growth. What’s more satisfying in the end—the lover who never says no, or the one who says no most of the time, or in the most significant ways, but succumbs just when one has given up all hope? We can’t help but want that oppositional tension, and so endure the self-degradations of asymmetrical desire. 

This is in part why Guadagnino and Kuritzkes don’t give us the movie we want. Cinema in isolation does not deliver connection and transcendence any more than heroin does. But it’s a path through the jungle of meaninglessness. It’s the open door through which we gaze upon what’s possible and, beyond that, and as elusive as it may be, what’s possibly possible.

MEGAFORCE (1982) Thanksgiving Turkey

 


Hal Needam's MEGAFORCE was promoted heavily. Back in 1981 the film was everywhere. Stories were written and broadcast about how the film's cars, motorcycles and other vehicles and weapons were being studied  by the US Military for possible use. It was being set up as the next big thing..

...and then it died. It seemed no one wanted to watch spandex soldiers riding dune buggies,

The reviews came out and it tanked. The reviews were so bad that I went opening weekend because I suspected it wasn't going to last long in theaters. 

The plot has a secret government organization, made up of tan spandex wearing soldiers, going up against a bad guy working on world domination.  They use fancy dune buggies and motorcycles. 

Full disclosure, I like Hal Needam's films. I love how he could make entertaining films that reduced things to their most  basic level. Think about what the SMOKEY AND THE BANDIT  or CANNONBALL RUN films are. There is nothing much beyond a chase and quips...an yet they work.

Well they worked when  he either had a good script (BANDIT,  his TV  work) or a cast that could sell anything (CANNONBALL RUN). Unfortunately in the case of MEGAFORCE he had a largely second level cast and a script that stinks. 

The script, is...well...there really isn't anything there. It's as cliche as they come. You know how its going to go from frame one. It might have worked, as in his other films, if he had given us either well drawn characters or actors who ar charismatic enough to hold the screen, but he has nothing. Michael Beck, while never bad was never anything but occasionally good.  Okay yes I like Barry Bostwick and Persis Khambatta, but they are better in support than as leads. It doesn't help but they are all given bad movie hero cliches as characters.

To be honest I like the action in the film. Sure it borders on silly (especially in the final battle where Bostwick's motorcycle flies thanks to bad visual effects) but it entertains.  I think it was because of Needham's stunt work that he was allowed to direct again when this film died at the box office. (That and he was a friend of Burt Reynolds)

Is it a bad film? Oh hell yes?

Is it fun? Oh hell yes.

Should you see it?  If you can do so with friends and make fun of it.

Tuesday, November 26, 2024

September 5 (2024) opens Friday


This is the story of the people of ABC Sports who stepped up to bring the world the story of the terrorist attack on the 1972 Olympics. It is only the story of what happened during the short time before the attack happened until it ended.

Let me repeat that- this is only the story of how the men and women of ABC Sports covered the terrorist kidnapping. We largely only see what the people in the control room see, nothing else. We also are only focused on those hours. I mention this again because if you are looking for the lives of Roone Arledge or Peter Jennings or  Geoffrey Mason you'll have to look else where. Indeed the film doesn't even tell us anything related to them in the two end slides. 

I am saying that because I suspect that some people are going to want to know things that are outside of the events on screen. I am also saying it because there was a moment when I briefly broke with the film. I wanted to know more. I thought I needed to see or know more. I was wrong. Shortly after breaking with the film I suddenly reconnected with the film when I realized that the film, in it's simplicity, was infinitely more complex than it seems.

What this film is a look at how we get our news. It's a film that looks at how the decisions of what we see are made. It's a film that makes you wonder about the news and about the people who report. We watch the men as they wrestle with what are they going to do if they start to kill people... and in a shattering moment they are forced to ponder if they are helping or hurting when they discover that the terrorists can see their reports.

This film rocked me to the core. I was on the edge of my seat, shifting my position every few minutes. I say that as an expression about how great this film is- I knew what happened and how, having read the accounts, seen documentaries, and yet I watched and had no clue as to what was happening. I wanted to see how it all played out. Any film that can make you forget what happened, especially if it was something that you watch happen live on TV (which I did, because I am that old) is a great film.

Not to mince words SEPTEMBER 5 is one of the best films of 2024. This is one of the most entertaining films of the year. It's also, despite seeming simple, one of the most thoughtful films.

Highly recommended.

Heavier Trip (2024) opens Friday


Sequel to the 2018 film HEAVY TRIP has the group Impaled Rektum in prison. They get word that one of their boyhood homes has been seized. At the same time they get an invitation to play the heavy metal festival in Wacken Germany. They manage to escape, but the cops are on their trail, the promoter doesn't seem to be on the up and  up, and the friends are being less friendly. 

This is a funny comedy that is a solid continuation of the previous film. Its filled with funny jokes, great music and a the right amount of charm.

Recommended

Heartbeeps (1981) Thanksgiving Turkey


In the future two robots meet and fall in love. They build themselves a small child and flee taking a robot comedian with them.

Allegedly put together with the hope of Andy Kaufman becoming a movie star, the film bombed, badly, and derailed Kaufman's career.

I don't know where to start? This movie is a turkey of the highest order. Before it came out it was a film they pushed everywhere, in every magazine imaginable, there were tons of in theater promotions and TV commercials.  I remember months of promotion and I remember being sick to death of it.

Yes, I know that there are a number of people who like the film, but I don't. I think it's an unfunny film that seems like a bunch of really talented people got together and somehow made a bad film. Think about it, director Allan Arkush was a director who had been working for Roger Corman for years making films like ROCK & ROLL HIGH SCHOOL. Writer John Hill had written films like GRIFFIN AND PHOENIX (a romance with Peter Falk and Jill Clayburgh), LITTLE NIKITA and QUIGLEY DOWN UNDER. And the cast was Kaufman, Bernadette Peters, Kenneth McMillan. Paul Bartel, Mary Woronov, Dick Miller and the voice of Jerry Garcia (until he was removed). Stan Winston was nominated for an Oscar for his make-up work. All these people came together and made a really bad film.

Actually, what we have here is a film was probably killed by the studio. I say this because we know that the studio heads saw Arkush's cut of the film, promptly fired him and then recut the film. I've never heard about what the film was before the studio chopped it up...though to be honest I have such an aversion to the film I never really looked. I will say all I've heard was that a large chunk of time was cut out of it by the studio. Which I would believe since there are moments where nothing really happens.

Should you watch it? No. Why not? Because even if you like bad films, this isn't one you'll like.

Monday, November 25, 2024

Reinas (2024)


In the summer of 1982 Elena makes plans to take her daughters Lucia, Aurora,to the United States, however things become complicated when the girls' dad returns into their lives.

This is the sort of small gem that Unseen Films was created to highlight. A small joy of a film that is going to get over looked at a festival full of glitz and glamour like Sundance. This is a lovely little film about a family and the choices they make. 

I really liked this film a great deal. It's a wonderful slice of life that is full of life. To be certain it doesn't chart any new territory but being so full of such wonder characters you really won't care. From the opening where Carlos, the girls' dad spins tales about being an actor on to the final fade out you'll be hooked watching every one on screen. 

I know I'm not speaking of the deeper themes about living in a city in turmoil (Lima was in political turmoil and there was danger from authorities and the "terrorists" they were hunting), but that isn't what is important. Its the four people up front trying to decide how to make a better life for themselves.

If you need a small scale film to act as a palette cleanse from all the over hyped "big films" at Sundance REINAS is just the ticket.

Recommended.

Slapstick of Another Kind (1982/84) Thanksgiving Turkey


Sometime about 1980 Steven Paul was being eyed as perhaps the next big director. Not even twenty years old he made the film FALLING IN LOVE AGAIN with Elliot Gould, Susannah York and a a very young Michelle Pfieffer in a romantic comedy midlife crisis film. It wasn't bad (and it wasn't great)  but Hollywood was curious since Paul could schmooze big stars and execs and somehow he managed to convince them into making a film version of Kurt Vonnegut's Slapstick with Jerry Lewis, Madeline Kahn, Pat Morita, Samuel Fuller and Marty Feldman. 

In the days before the internet the film was heavily hyped and was being groomed as the next big thing...and then it was delayed, recut and dumped into theaters. Steven Paul barely directed anything again and instead went into producing and management.

This was one of a group of big studio bombs that  were due to release in 1981/82 (And Which I will be covering this week).  HEARTBEEPS with Andy Kaufman and Bernadette Peters, THE INCREDIBLE SHRINKING WOMAN with Lilly Tomlin and couple of others were heavily pushed and all died at the box office (or at least with audiences on the back end because we never discuss them) in spectacular fashion. It was a time where you didn't know what you were going to get the first weekend because the studios could control word of mouth.

SLAPSTICK was a head scratcher from the first. Vonnegut's least favorite novel being turned into a film starring a man whose only attachment to the public at the time were his telethon appearances and his old cult films. No offense to Lewis, but other than his being a name, why was he chosen? More to the point what made the studio want to release it or investors want to throw away money we'll never know.

The plot has two twins played by Lewis and Kahn, who apart are idiots but together are highly intelligent and if they touch are super intelligent. It transpires that they are actually aliens sent to solve the world's problems, however they are so brilliant that humanity can't deal with them. (Oh, and the Chinese have all been shrunk to two inches and cut themselves off from the world)

Words can't really do this film justice.

This is some sort of bent fever dream of a film that has you wondering how it got made. This isn't a small budget inde film, but a bigger budgeted film with real stars. It's nominally an off kilter film from a mainstream company.

To me the film was doomed from the start. It looks off from the first frame and it never remotely feels connected to reality, even its own. Vonnegut's worlds are slightly off but you buy them because his words are so good. The filmmakers who have made good/great films from his work understand this and keep things tethered. Steven Paul never does and he lets it go wild. Lewis is allowed to mug for the camera. Kahn seems lost. This is like watching a road accident where bizarre clown cars designed by four year olds crash into each other explode.

Nothing works. It's just awful  

In all honesty it's so f-ed up that any cinephile worth their salt should see it, just so they can see about where cinematic hell starts and what it really entails.

It's so bad you completely understand why it took a decade for Steven Paul to direct another film-and it will explain why some of the films he produced aren't very good.

Black Dog (2024) is playing in LA- go see it


Guan Hu returns with a great little gem of a film that I completely failed to notice on the release calendar.

The film follows a man who has just gotten out of prison going to his home, a village near the edge of the desert in order to take care of the dog population. Along the way he becomes friends with a black dog and it changes him for the better.

This is a nice little film that is just as good as Hu's earlier films (COW, DESIGN OF DEATH or MR SIX) in other words the film is going to kick the legs out from under you and leave you wondering why more people aren't talking about this film.

This is a great film and you need to track it down ASAP.

Sunday, November 24, 2024

Nightcap 11/24/24- A trailer quote and looking ahead

 
Shameless self promotion- I'm quoted in this trailer

--
And I'm sure there are some other things that might work, but MIGHT work isn't good enough any more. I need something that WILL work. THIS will work. That's why I picked it.”
― Marsha Norman, 'night, Mother
--
And DOC NYC is done and we move on to the end of the year.  It’s been crazy for some good reasons (the Indie Awards) and some bad reasons (we’ll not discuss those). I’m burnt and tired and I just want to take some time not to do anything.

That isn’t happening.

As this posts I’ve done two interviews in the last week Davi Poenawa and director Eyrk Rocha from THE FALLING SKY (which will run when the film hit theaters in the spring) and Gints Zilbalodis the director of FLOW which I will run  when the film goes wide.(That’s a sneaky way of saying I haven’t transcribed it yet). I have third interview in early December in the works and if it happens I will be very shocked that this ride has brought me to talking to one of my all-time heroes.

So what does the rest of the year look like at Unseen Films?

This week some new releases plus our annual look at film turkeys for thanksgiving. However this year it’s something else box office disappointments and lost films from the early 1980’s, not just turkeys.

After that I’m going to be mixing lots of catch up titles, with possible Oscar contenders and some new releases.

The very end of the year will be the year end lists plus whatever I manage to see.

Beyond December 31, I have no clue. I do know that I did not actively request Sundance credentials because I don’t have the time to actively pursue the titles. (That said if you have a film and want coverage please contact me – I will review what is offered me)

--

As every one is fleeing Elon Musk's broken toy I want to say I am still on Twitter out of necessity however my heart is at Blue Sky because frankly the people are nicer and you can largely filter out the bullshit.  If you are there I can be found at https://bsky.app/profile/unseenfilms.bsky.social

--

A random reminder- my end of year lists are based on what films I see in a year, not what year a film is released (this is why films like SOCIAL MEDIA MONSTER is making the list). I barely have the brainwidth to remember what films I saw I can’t keep stacks of files of when films are actually released in the US
--
If you were smart enough not to see the Zachary Levy version of HAROLD AND THE PURPLE CRAYON, continue to not see it. It's beyond bad in a bad way.

It will scar you for life.
--
A Last minute quick note to all the studios and PR people – I am putting a moratorium on new films to the end of the year. I’ve been slammed with year end screeners- and even allowing that I have been watching them around the DOC NYC wave- I still have over 60 to go. This does not include the ones for films I have previously seen.

I have told John Wildman and other PR people that I would do some coverage of DOC NYC if they would send me some titles, but outside of that I’m not taking any more for coverage in December. So ask me about things for after January 1.

I will be running catch up posts probably into January because there are just too many FYC films to get to.
--
And the final piece for this week there is a good chance that I may try to do the Unseen Film Awards this year. Details to follow.

South Of Hope Street (2024)


In 2038 a woman living in a dystopian society sees a disturbance in the sky.  She is a kind of misfit and doesn't fit into the increasingly fascist society.

Strange off kilter science fiction film is an odd duck. While I applaud the fact that the film is very much a one of a kind experience, I'm not certain the film actually works. My reservations is the film is very much trying to make a point from it's opening sequence pointing out that our heroine has different shoes to everyone else on to the final image of a flying car every word, action and shot means something.  I felt I was being lectured to instead of being told a story.

To be honest I don't know what I think about it. I admire that the film has a unique view but I'm not certain I like it.

Is the film worth seeing? If you want a film that is off the beaten trail, yes. It's a film that isn't like anything else out there. Beyond that you are on your own.

Body of Lies

I've been trying a simple way to explain the plot but its not that easy and its hung up my review of the film for sometime. I can either be very simple and not give you a flavor for the film or I can tell you too much. After much deliberation I'm going to go simple.

A CIA agent played by Leonardo DiCaprio who is operating in Iraq gets wind of a terrorist organization that maybe working out of Jordan. with the help, hindrance and manipulation of his boss back in the US (Russell Crowe) DiCaprio attempts to penetrate and stop the group before they can kill any more people.

That does the film no justice, so let me say that this is the first film dealing with Iraq in a good long while that doesn't feel like a retread or cliché. Its also the first film to deal with the war that will play well as a spy movie when divorced of its subject. Yea its about the war and yea it has implications, but at the same time its a damn fine modern spy thriller and will in the end be remembered as that in ten years time. The cast is wonderful, even if Crowe's and DiCaprio's accents wander in and out. See the film because its a thriller not because its Iraq related.

To be certain its not a perfect film, there are a few spy genre clichés it stumbles over but for the most part its a movie to watch with a big soda and a tub of popcorn.

Recommended.

3rd Annual Dances With Films - NYC announces lineup for premiere-rich film event (December 5-8)

 
Celebrated truly indie-focused film festival will feature
77 Feature-length Narrative and Documentary films
Pilots and Shorts making World,
North American, and US Premieres 
  
Evan Oppenheimer’s PEAS AND CARROTS makes its World Premiere 
as the Opening Night selection, and Christina Elioupolos’ HERE’S YIANNI! 
is the Closing Night selection.
 
  PEAS AD CARROTS HERE'S YIANNI 2 
Peas and Carrots, Here’s Yianni!
 
New York, NY (November 15, 2024) – Dances With Films announced the film lineup for the 3rd New York City edition of the bicoastal film festival juggernaut. December 5-8 will be packed with an incredible number of feature-length narratives, documentaries, pilots, and shorts making their world, North American, and US premieres as DWF showcases those new works as part of the only indie film-focused film festival with a foothold in both Los Angeles and The Big Apple. Evan Oppenheimer’s Peas and Carrots makes its world premiere on Opening Night, and Christina Elioupolos’ Here’s Yianni! is the Closing Night selection.
 
Among DWF NYC’s lineup of 141 films, including 22 narrative and midnight features, 9 documentary features, 18 television and streaming pilots, and 92 short films (76 combined narrative and midnight, with 16 documentaries). More than half of this year’s DWF NYC presentation will be making their world, North American or US premieres during the ambitious four-day film event in December. All screenings will take place at Regal Union Square (850 Broadway).
 
In addition to Oppenheimer’s Peas and Carrots, additional feature length films making their world premieres are Liam Le Guillou’sA Cursed Man, Victoria Kupchinetsky’s Calico Rebellion, Jason Mendoza’s Good FridayBari King’s Itch!, Mikaela Shwer’s The Kids Are Not Alright, Dom Cutrupi’s Lola Dust, William Tyler Wiseman’s Moonwater, Paul Bickel’s One Happy Place, Jarrett Jung’s Sergeant Pickle Breath And The Rooftop Warriors, and Kristen Hansen’s Sonny Boy. Andrew Bell’s Bleeding, and Howard Goldberg’s Double Exposure will make their North American Premieres, and Nicola Rose’s Magnetosphere will make itsUS Premiere at DWF NYC.
 
Pilots for TV and streaming series making their world premieres, include Sergio Camacho’s United Crafts Of America, Victoria Myers’ A Legend Is Hatched: I Become Famous... In My Own Mind, Lucy Hirschfeld’s Dropped, Christine Lakin’s The Fun In Funny, Christopher Gerson and Julie Kramer’s Gasbag, Dan Jones’ Hive, Olivia Lambert’s Like Comment Subscribe, Serena Schuler’s Makeshift Society, Karl Janisse’s Passage, Ana Breton’s Rat Czar, and Ruthie Marantz’s Raging Doll.  
 
Cited by Moviemaker Magazine as one of the 2024 “Coolest Film Festivals” in the world, Dances With Films’ rapid growth in New York City along with its current place as L.A.’s top film festival for platforming truly independent filmmaking, makes DWF the only film festival organization offering “discovery” titles in major film festival events in both of those cities. Showcasing brand new work by filmmakers on both coasts, most of which have yet to be seen or picked up for distribution has become a hallmark for Dances With Films’ Founders and Directors Leslee Scallon and Michael Trent. 
 
Scallon and Trent said, “We take the responsibility of discovering these films and filmmakers and
thus providing an opportunity for them to get distribution and representation furthering their careers. Just as New York City's energy and excitement has been a driving force for us, we embrace the absolute joy of seeing so much great work on the big screen for the very first time and helping our ever-growing family of filmmakers take their next steps toward realizing their dreams under the spotlight of this great city. We hope the audiences feel it the same way we do.”
 
Thursday, December 5 will feature the World Premiere Opening Night presentation of DWF alumni Evan Oppenheimer’s Peas and Carrots. Oppenheimer’s film The Auteur Theory screened at DWF in 1999 with a early appearance by Natasha Lyonne. Peas and Carrots follows a teenage girl in New York who is the child of a couple that were one-hit wonders in the 90s. She also travels in a bizarre alternate reality, where everybody only says three words: “Peas and Carrots”. Naturally, her family forms a new band and start rocking out together. The film stars Kirrilee BergerJordan Bridges, and Amy Carlson, and the local NYC-based production also includes the involvement of numerous legendary New York musicians. Members of the RamonesSonic YouthRichard Hell and the Voidoids, and Guster all contributed to this movie, both with new music in the score and (in some cases) with appearances on screen.
 
Closing Night on Sunday, December 8, will feature Christina Eliapolous’ Here’s Yianni!. The whimsical comedy drama stars Joe Cortese, as the title character, and Julia Ormond as a longtime couple who run a beachside family diner. Yianni develops dementia and slips into a parallel realm, believing he is the host of a late-night talk show with the diner’s staff and customers as guest stars. Meanwhile, his wife tries to hide his illness from their coworkers and best friends (Kevin Pollak and Rosanna Arquette). When a woman and her seven-year-old son move in across the street, Yianni becomes convinced that the young boy is the son they lost 30 years ago and after he escapes home and runs into the boy, Yianni must find a moment of clarity so he can navigate them both back to the diner and their worried families. The film also stars Eric Roberts and Sofia Vassileva.
 
GOOD FRIDAY DOUBLE EXPOSURE MAGNETOSPHERE
Good Friday, Double Exposure, Magnetosphere
 
Additional narrative feature films making their world premieres are Jason Mendoza’s drama Good Friday, about poor street kids who find themselves himself at odds with loan sharks and the neighborhood’s street tyrant, after a botched house robbery. Dom Cutrupi’s Lola Dust focuses on an aspiring actress who finds herself the subject of a deep fake campaign featuring her image and thrusting her unwillingly into a threatening world hidden in plain sight. William Tyler Wiseman’s Moonwater follows the efforts of a man, battling his own alcoholism while trying to revive his late father’s old, dilapidated moonshine still deep in the woods for one final batch. The Midnight category is led by the world premiere of Bari King’s survival tale Itch! in which a horrific outbreak transforms its victims into self-destructive shells. A widower grappling with grief, takes refuge in a seemingly safe department store with his estranged young daughter, Olivia. However, their sanctuary quickly becomes a nightmarish trap, as the infection quickly closes in on them.
 
Making its North American premiere is Howard Goldberg’s Double Exposure. The film features the dramatic collision of the past and present, as a man, in a life and death struggle with himself, combats his guilt over what happened to his first love in a #MeToo tragedy. DWF alumni (Goodbye, Petrushka 2022) Nicola Rose returns with her second feature Magnetosphere, which will be making its US premiere. At the center of the film is a 13-year-old girl with a rare ability to see sound and hear color. Her attempts to keep it a secret are shaken up when her dad mounts a ramshackle theatre production which introduces her to a host of influential new people.
 
ITCH CALICO REBELLION
Itch!, Calico Rebellion
 
Documentaries making their world premieres at DWF NYC are Liam Le Guillou’s A Cursed Man in which the filmmaker’s exploration of the world of witchcraft and the occult, leads him to have a curse placed on him forcing him to question the nature of reality and belief. Victoria Kupchinetsky’s Calico Rebellion looks at a family of farmers in the Catskill Mountains whose ancestors staged the Anti-Rent War 200 years ago, changing the cause of American history, and paving way to the anti-slavery movement and to Abraham Lincoln’s new political party. Mikaela Shwer’s The Kids Are Not Alright looks at the abuse suffered at the hands of the Troubled Teen Industry, an unregulated network of for-profit institutions claiming to fix wayward teenagers. 
 
DROPPED THE FUN IN FUNNY
Dropped, The Fun in Funny
 
The television, web series pilots, and episodics also have a healthy number of world premieres. Those include Victoria Myers’ A Legend Is Hatched: I Become Famous... In My Own Mind about an   unflappable gal-about-town and her madcap quest to get her own television show. Lucy Hirschfeld’s Dropped follows a struggling actor who gets dropped by his agent in the middle of teaching a master class to a group of children at his old Catholic Middle School. Christine Lakin’s The Fun In Funny focuses on a stand-up comedian inspired to take the mic one more time due to an unlikely friendship with a young girl. Christopher Gerson and Julie Kramer are the directors of Gasbag, a coming-of-age comedy series about a lovable recently-out overtalker discovering what (and who) he really wants… thanks to a new shakeup at work and his unexpected candidacy as President of his Condo association. Dan Jones’ Hive finds five strangers discovering they’re trapped inside a tacky, low-budget sitcom and watched by an unseen audience ever hungry for entertainment. Sabina Olivia Lambert’s Like Comment Subscribe features two BFFs and top influencers in Toronto faced with the challenge of helping a vegan leather bag company recover from a trans-exclusionary scandal.
 
MAKESHIFT SOCIETY RAGING DOLL UNITED CRAFTS OF AMERICA
Makeshift Society, Raging Doll, United Crafts of America
 
Additional pilots making their world premieres are Serena Schuler’s comedy series pilot Makeshift Society which is a female take on the tech industry via a young woman’s effort to build her own start up after being fired by her tech bro boss. Set in 1914, Karl Janisse’s Passage focuses on a ship’s stowaway who becomes entangled in a 100,000-year-old secret fueled by a mysterious entity infecting the minds of the ship’s crew. Ruthie Marantz’s Raging Doll is centered on a delusional millennial from The Bronx planning to get in the ring with a junior boxing champion. Ana Breton’s comedy Rat Czar follows New York's newly appointed director of rodent mitigation and her staff as they attempt to win an unwinnable war against both the Mayor of New York and the city’s growing rat population. Sergio Camacho’s United Crafts Of America debut episode also features New York City, but in a much more pleasurable angle as it provides an intimate look into America’s most vibrant craft beer cities, uncovering the country’s most innovative breweries and the passionate people behind them.

Dances With Films NYC once again will feature the world premieres of several short films. Narrative shorts debuting include Dustin Cook’s Artificial, Jack Campbell’s Baby, Jesse Cowell’s B!Tch I'm Early (B.I.E.)Fraser Clubb’s Blue Plaque, Tommy Heffernan’s Body Buddies, Timur Guseynov’s Brooklyn, Sara Newton’s Bullet Proof, Paula Blanco Pérez’s Canchas, Daniel Casey’s Charon, Dylan Levine’s The Clock Painter, Will Crouse’s The Coder, Grant Raun’s Composure, Misha Gankin’s Dead Pet Shark, Daniel Rocha’s El Secreto, Megan Robinson’s Have We Met?, Taylor Anthony Miller’s It’s Not You… It’s The Aliens!, Elizabeth Katz’s Role Play, Emily Coutts’ Rosebud, Juan Zuloaga Eslait’s Salve, Anima, Sofia Lane’s Sid The Kid, Andrew Lucido’s Sky, Hunter Woelfle’s Sweet & Crunchy, Emma Elizabeth Steiger’s Wait To Tell Mother, Shawn Dempewolff’s We Good?and Nate Hapke’s Why Are You Like This?.
 
HIVE - short WATCHING WALTER
Hive, Watching Walter
 
Other notable narrative shorts are Felipe Vargas’ Hive, which stars Xochitl Gomez (Doctor Strange and the Multiverse of Madness, Dancing with the Stars) as a teenager forced to confront an insidious entity hidden among a group of children including a girl she’s babysitting, and Mitch Yapko’s Watching Walter, which stars Stephen Tobolowsky portraying Holocaust survivor-turned watchmaker Wladyslaw "Walter" Wojnas.
 
Documentary shorts making their world premieres include Aisha X. Elliott, Cheryl Wilkins, Kathy Boudin, and Jake Ratner’s Degrees Of Freedom, Simantini Chakraborty, and Godfrey Reggio’s The Original Badass, and Justin Wheelon’s Tides Of Change. Midnight shorts making their big debut on the New York “stage” include Luke Paron’s Arachnid, Alan Arias’ Walter, and Vinnie Hogan’s Werewolf Scouts.      
 
For more information about the Dances With Films NYC film lineup, events, passes, and tickets, go to: https://danceswithfilms.com/.
 
 
The 2024 Dances With Films NYC official selections:
 
OPENING NIGHT FEATURE
 
Peas And Carrots     
WORLD Premiere I USA, 2024, 96 min.
DIRECTOR: Evan Oppenheimer
Joey Wethersby is a typical 16-year-old New York girl -- if your typical New Yorker had parents who were in a one-hit wonder band in the 90’s. And if your typical New Yorker found themselves travelling every night to a bizarre alternate reality, where everybody only says three words: “Peas and Carrots”. Joey finds herself navigating this weird new world, while also dealing with her changing family dynamic, after she suggests that she and her parents (and, to her chagrin, her siblings) form a new band and start rocking out together.
 
 
CLOSING NIGHT FEATURE 
 
Here’s Yianni!   
NEW YORK Premiere I USA, 2024, 101.5 min.
DIRECTOR: Christina Elioupolos
Yianni and Plousia (Joe Cortese and Julia Ormond) own a charming family diner by the beach, where Yianni is a convivial host. Lately, Plousia has noticed that her husband of 40 years is not quite himself and is often wistfully distracted. One day, Yianni slips into a parallel realm, a world of his fractured mind, imagining himself as the host of a late-night talk show. The show features beloved diner staff and customers as guest stars. Plousia learns that Yianni is facing dementia but hides his illness from coworkers and best friends (Kevin Pollak and Rosanna Arquette). As his condition worsens, Plousia becomes Yianni’s full-time caregiver and lifeline. When a woman and her seven-year-old son move in across the street, Yianni is convinced that the young boy is the son they lost 30 years ago. After a day of escaping home and running into the boy, Yianni, in a moment of clarity, navigates them to the diner, reuniting them with their worried families. Knowing he misses his customers, Plousia conceives a whimsical idea of building a mini diner on their front porch for Yianni in his final days. Yianni serves up toast and bottomless coffee to his cherished patrons, making the world happier for everyone he meets.
 
 
ADDITIONAL NARRATIVE FEATURES 
 
A/Way
USA, 2024, 62 min.
DIRECTOR: Derek Shane Garcia
After suffering a profound loss, a travel journalist is sent on assignment to Martinique, sparking a candid reflection of her unsettled life.
 
Adventure Tom   
EAST COAST Premiere I USA, 2024, 110 min.
DIRECTOR: Miguel Duran
Tom, an unhappy artist, must fly to Minneapolis when he learns his mother has died. Lilly, an accountant, is on the same flight. Lilly has an incident on the plane and ends up on the no-fly list. Tom is driving home because he hates flying. They agree to go together. Once they’re on the road, Lilly convinces Tom to take a more scenic route. They discuss their lives on the road as they get to know each other. The two reflect on their journey when they reach the Grand Can yon, and the large unknown future ahead of them.
 
Boundary Waters      
NEW YORK Premiere I USA, 2024, 98 min.
DIRECTOR: Tessa Blake
In this lyrical coming-of-age film, 12-year-old Michael Murray relishes the carefree joys of early adolescence - girls and friends - until his mom has a black eye and a busted lip. Michael is desperate to know what happened, but his father Brian avoids him, Granny shushes him, and his usually resilient mother can’t get out of bed. While his family weighs the cost of keeping secrets against the price of telling the truth, Michael is determined to fix what happened as he tries to become a man in a world where men cause harm.
 
The Collaborator   
EAST COAST Premiere I USA, 2024, 124.5 min.
DIRECTOR: Travis Hodgkins
As war rages in Kashmir in the early 1990s, a young man from a nearby village is recruited by an Indian army officer to perform a grim task, to go into the conflict zone where militants have been killed and retrieve their weapons and ID cards. Based on the critically acclaimed novel by Mirza Waheed.
 
Double Exposure    
NORTH AMERICAN Premiere I USA, 2024, 93 min.
DIRECTOR: Howard Goldberg
How does a bride compete with a beautiful influencer who comes back from the dead to steal her husband? The past and present mysteriously collide as a man, in a life and death struggle with himself, combats his guilt over what happened to his first love in a #MeToo tragedy.
 
The Ego Death Of Queen Cecilia 
EAST COAST Premiere I USA, 2024, 86 min.
DIRECTOR: Chris Beier
A washed-up YouTube star blackmails an old rival in an attempt to reclaim her fame. But when things go awry, she finds herself ensnared by a drug trafficking ring. As Cecilia spirals out of control, she's forced to confront her true place in society.
 
Good Friday    
WORLD Premiere I USA, 2024, 62 min.
DIRECTOR: Jason Mendoza
Niño, a pacified child of the street is recently diagnosed with leukemia and committed to turning a new leaf. After catching Niño trying to leave for Church in his old basketball sneakers, his mother begs him to buy a decent pair by Easter mass. After enlisting estranged childhood friend and corner store crook, Dee, to help him make the money by any means, the boys realize that they’re far from shoplifting grocery stores anymore when a botched house robbery puts them at the hands of loan sharks and infamous street tyrant, Big Brother.
 
Lola Dust   
WORLD Premiere I USA, 2024, 90.5 min.
DIRECTOR: Dom Cutrupi
After attending an audition, an aspiring actress finds herself the subject of a deep fake campaign targeting the British Minister for Immigration. In her quest to expose the truth behind the scandal and find the perpetrators, she loses agency over her personal image and becomes a victim of digital harassment, leading her to a world hidden in plain sight.
 
Magnetosphere     
US Premiere I USA, 2024, 89.5 min.
DIRECTOR: Nicola Rose
It's 1997. Comet Hale-Bopp is passing Earth, and 13-year-old Maggie has a secret. She sees sound, hears colour, and her senses do other unusual things besides. Shy and cautious, Maggie keeps it all to herself. But when her family moves cross-country, Maggie’s world is shaken up. When she starts school and her dad mounts a ramshackle theatre production of "The Pirates of Penzance," everything changes. Maggie meets several important people: her first love, a true friend, an insightful teacher, and Gil, a loony exterminator with a formidable talent. Together, they'll lead Maggie to realize her differences have a name — synesthesia.
 
Moonwater     
WORLD Premiere I USA, 2024, 118 min.
DIRECTOR: William Tyler Wiseman
A reclusive alcoholic discovers his late father’s old, dilapidated moonshine still deep in the woods and sets out to revive it for one final batch, reconnecting with his brother and his father’s legacy in the process.
 
Our Happy Place   
WORLD Premiere I USA, 2024, 91 min.
DIRECTOR: Paul Bickel
Raya wakes in the forest, cold and confused, with no memory of how she got there. Each day, it happens again. By the third day, she wakes in a shallow grave. The graves deepen each time, as if an unseen force is burying her alive. Back in her cabin, she’s haunted by visions of tortured women whose screams echo in her mind. Night after night, her visions intensify, blurring the line between dream and reality. As the hauntings intensify, Raya must confront a horrifying truth that shatters everything she had believed.
 
Screams From The Tower   
EAST COAST Premiere I USA, 2024, 118 min.
DIRECTOR: Cory Wexler Grant
Screams From the Tower is a gay, coming-of-age comedy that follows Julien Rosdahl, his best friend Cary, and their outcast friends through high school in the 1990’s. The only thing Julien dreams of is having a show on the high school radio station, but his brand of comedy is very... weird.
 
Sergeant Pickle Breath And The Rooftop Warriors   
WORLD Premiere I USA, 2024, 78 min.
DIRECTOR: Jarrett Jung
A pot dealing man-baby is forced to find a new crib when his roommate/best friend threatens to destroy his teddy bear if he doesn't move out.
 
Sonny Boy     
WORLD Premiere I USA, 2024, 90 min.
DIRECTOR: Kristen Hansen
After a failed writing career, a Korean Italian American playwright returns home to reconcile with his dying father. Sonny Caso discovers life back home has changed. He tries to make peace with a broken dream before finding a second calling as a teacher. Still, his gift for teaching falls short of his father's expectations. Sonny tries to make amends before it’s too late but can’t find the approval he’s always wanted. When Sonny has finally forged his path, he makes an inexcusable mistake with a troubled student. Returning home is Sonny’s undoing and chance to discover who he can still become.
 
Step Back, Doors Closing      
EAST COAST Premiere I USA, 2024, 98 min.
DIRECTOR: Carter Ward
This is a charming love story between Ryan and Julisa, two young adults who long for authentic and emotionally intelligent relationships. After a chance encounter on the DC metro, they spend the next twenty-four hours discussing their hopes, dreams, and fears. Slowly but surely, they reveal more and more about themselves, and fall in love.
 
Year One    
EAST COAST Premiere I USA, 2023, 93 min.
DIRECTOR: Lauren Loesberg
Ruby’s freshman year of college doesn’t go as planned. Despite her best efforts, she struggles to make friends other than her complicated roommate, Selene, and experiences both academic and social rejection. But Selene bears problems of her own when her severe anxiety and inability to care for herself seep into Ruby’s everyday life. Soon, Ruby finds herself in a downward spiral, marked by dreams and the appearance of her glamorous alter ego, Ruby II, who begins to live the life that Ruby thinks she is expected to have.
 
 
DOCUMENTARY FEATURES
 
A Cursed Man    
WORLD Premiere I USA, 2024, 98 min.
DIRECTOR: Liam Le Guillou
Documentary filmmaker Liam Le Guillou enters the world of witchcraft and the occult, searching for an answer to the question “is magic real?” Seeking out some of the world's most powerful dark magic practitioners, Le Guillou asks them to put a curse on him. The consequences of this dangerous request force him to question the nature of reality and belief in this never-before-seen, dark social experiment.
 
A Little Hope For Chicago      
EAST COAST Premiere I USA, 2024, 74 min.
DIRECTOR: Leon Lozano
Part narrative performance film, part documentary, A Little Hope for Chicago is a walk through the life of a Chicago hustler, narrowly avoiding the devastating consequences of death and incarceration, as he reflects on the systemic root causes of the violence and trauma that consume youth in urban centers like Chicago.
 
All American    
NEW YORK Premiere I USA, 2024, 87 min.
DIRECTOR: Mark Andrew Altschul
All American is energetic and soulful and offers an in depth look into Women's Wrestling through the lens of immigrant and teenage girls. It is an inspiring, coming of age film about impassioned and unrelenting participants on a backdrop of physical sports action. Family expectations and gender roles are on display as our young women dream of earning a sense of belonging and acceptance in society.
 
Bastards Of Soul    
EAST COAST Premiere I USA, 2023, 84 min.
DIRECTOR: Paul Levatino
Bastards of Soul highlights the remarkable journey of Chadwick Murray, an unexpected frontman who brought a magnetic energy to a Texas band on the verge of stardom. Chronicling the final days of the group, the film captures intimate, behind-the-scenes moments from recording sessions to powerful live performances, showcasing a band unified by talent and unbreakable camaraderie. Their story is a testament to the strength and resilience of musicians who pursue their passion against all odds. "The Trouble Is, You Think You Have Time."
 
Bulletproof: A Lesbian's Guide To Surviving The Plot   
EAST COAST Premiere I CAN, 2024, 105 min.
DIRECTOR: Regan Latimer
Filmmaker Regan Latimer takes an immersive, funny, and personal look at queer representation on television and media’s power to shape how we see ourselves. Witty, fast-paced and laced with pop culture references, Regan journeys across North America and beyond in her quest to understand the forces that influence the stories we see on screen. Original animation and personal anecdotes are interwoven with wide ranging conversations with television insiders, LGBTQ+ community advocates and people who just love to watch TV. As Latimer navigates an ever-evolving media landscape, the filmmaker learns firsthand that representation done well has the power to transform.
 
Calico Rebellion      
WORLD Premiere I USA, 2024, 75 min.
DIRECTOR: Victoria Kupchinetsky
The Hubbell’s, a family of farmers in the Catskill Mountains Upstate New York, cherish a strange heirloom: a long calico robe and a spooky leather mask with tassels. 200 years ago, dressed in this mask and robe, the Hubbell’ ancestors descended from bucolic hills to stage the “Second American Revolution”, a fight for land rights and for justice. Their rebellion, called the Anti-Rent War, changed the cause of American history, paved way to the anti-slavery movement and to Abraham Lincoln’s new political party. Today, although largely forgotten, the historic rebellion is made tangible by the direct descendants of those rebellious farmers.  
 
The Donn Of Tiki     
NEW YORK Premiere I USA, 2024, 100 min.
DIRECTORS: Alex Lamb, Max Well
The Donn of Tiki delves into the unbelievable life story of Ernest Raymond Beaumont Gantt, better known as Don the Beachcomber, the enigmatic creator of the Tiki bar. Through a creative use of animation, archival footage, and expert interview commentary, the documentary paints a vivid portrait of a man who had an outsized impact on the restaurant business, Hawaiian tourism, and the craft cocktail movement.
 
The Kids Are Not Alright      
WORLD Premiere I USA, 2024, 90 min.
DIRECTOR: Mikaela Shwer
What does it mean to be a survivor? Generations of children have been left with this question in the wake of abuse suffered at the hands of the Troubled Teen Industry, an unregulated network of for-profit institutions claiming to fix wayward teenagers. Decades later, they are fighting back. Filmed over the course of nine years, The Kids Are Not Alright is an intimate portrait of trauma following three families' journeys as they work to shed light on the devastating impacts of institutional abuse, pursue healing in the absence of justice, and fight to hold abusers accountable.
 
Spyral     
EAST COAST Premiere I USA, 2024, 83 min.
DIRECTOR: Bill Guttentag
A rising rock star documents his wife's harrowing descent into the shadows, and her battle with an undiagnosed mental illness. This compelling drama exposes the devastating toll of bipolar disorder on an American family, showcasing a deeply personal tragedy that universally resonates. Through a decade of home videos, diaries, and social media posts, double Oscar-winning director Bill Guttentag crafts a poignant narrative that captures the heartbreak and complexities of mental illness in America, revealing the hidden struggles that tear families apart.
 
 
MIDNIGHT FEATURES
 
Astral Plane Drifter    
EAST COAST Premiere I USA, 2024, 89 min.
DIRECTOR: Scott Slone
Sometime before yesterday... or after tomorrow... a man called The Drifter goes on an existential journey through a maze of outrageous scenarios with his trusted Sidekick, to save the day. The girl. The universe.
 
Bleeding     
NORTH AMERICAN Premiere I USA, 2024, 97.5 min.
DIRECTOR: Andrew Bell
In a world where vampire blood is harvested as a drug, two desperate teenagers on the run from a vicious dealer break into an empty house and find a sleeping girl locked inside.
 
Itch!    
WORLD Premiere I USA, 2024, 82.5 min.
DIRECTOR: Bari Kang
In this gripping survival tale, a horrific outbreak called the Itch! transforms its victims into self-destructive shells. Jay, a widower grappling with grief, takes refuge in a seemingly safe department store with his estranged young daughter, Olivia. However, their sanctuary quickly becomes a nightmarish trap, revealing that danger lurks among them. As paranoia rises and the infection closes in, they must battle the outbreak and the darkness within themselves. With life-and-death decisions to make, they confront their fractured bond in a harrowing climax that challenges the true meaning of protection and love.
 
Straight On Till Morning      
EAST COAST Premiere I USA, 2024, 104 min.
DIRECTOR: Craig Ouellette
Two people cross paths with a twisted family with something much much darker in mind. A unique blend of romance and horror, filled with nail biting tension and highlighted with original songs sung by Dani, Straight On Till Morning weaves the beautiful and terrible things people do for love into an edge-of-your-seat journey into darkness.
 
 
PILOTS - TV & WEB
 
A Legend Is Hatched: I Become Famous... In My Own Mind    
WORLD Premiere I USA, 2023, 12 min.
DIRECTOR: Victoria Myers
An unflappable gal-about-town and her madcap quest to get her own television show. A Legend is Hatched: I Become Famous... in My Own Mind is designed to be the first in a series that follows the misadventures of our TV-Star-to-Be, and the oddballs she meets along the way, as she tries to fulfill her great ambitions. In this world, everyone just wants their time in the spotlight, a chance to be seen, and to make a friend.
 
Ada Episodes 1 & 3      
EAST COAST Premiere I USA, 2023, 21 min.
DIRECTORS: Elizabeth Cox, Kirill Yeretsky
Should we eradicate mosquitoes? Create superintelligent AI? Create artificial wombs? These are some of the questions on Ada’s mind as she heads to the first day of her new job at the public library. She soon realizes her daily reality–mundane duties, grumpy boss–is completely at odds with the urgency she feels about the pressing problems facing humanity. Ada struggles to balance this reality with the future she imagines, where she explores her big ideas with anyone who will listen–her boss, her grandmother, or an unsuspecting visitor to the library.
 
Babyteeth     
EAST COAST Premiere I USA, 2024, 15 min.
DIRECTOR: Paul X Sanchez IV
Toni is an 11-year-old LatinX, transboy, who is afraid of the monster under their bed…which is very real…but it may not be the only monster in the house.
 
Dropped     
WORLD Premiere I USA, 2024, 16.5 min.
DIRECTOR: Lucy Hirschfeld
Dropped is a proof-of-concept comedic pilot that follows Andrew Wallace, a struggling actor who gets dropped by his agent in the middle of teaching a master class to a group of children at his old Catholic Middle School. Between his former best friend turned drama teacher Laura, a class of Gen Alpha kids who want nothing to do with him, and Bridgit, a 12-year-old actress who just booked Law and Order, Andrew must face his fears of failure and reconnect with his younger self who found joy in art outside of career success.
 
Eden For Two     
USA, 2024, 22 min.
DIRECTOR: Colin Henning
NYC. 1989. After escaping Communist Hungary, two Hungarians find themselves with opposing views of starting over in America. István, afraid of leaving his culture and home behind, is clinging to his yet-to-arrive girlfriend, while József is ready to treat himself to the American experience. Caught in the middle is their neighbor, Maria Louise, whose life, and routine is joyfully upended by the arrival of two new friends.
 
Fortune      
EAST COAST Premiere I USA, 2024, 27.5 min.
DIRECTOR: Matthew Perkins
In this Southern Gothic tale of greed, a blue-collar timber yard worker miraculously wins a massive lottery jackpot.
 
The Fun In Funny     
WORLD Premiere I USA, 2024, 22.5 min.
DIRECTOR: Christine Lakin
A stand-up comedian hangs up his microphone until an unlikely friendship with a young girl inspires him to give the stage another shot.
 
Gasbag      
WORLD Premiere I USA, 2024, 24 min.
DIRECTOR: Christopher Gerson (part 1), Julie Kramer (part 2)
Gasbag is a coming-of-age comedy series about George Nordstrom, a lovable recently-out overtalker discovering what (and who) he really wants… at age 42. His overbearing mother, meddling neighbor, and dysfunctional coworkers at The Marcia Powell Travel Agency sure won't make it easy. But thanks to his can-do spirit, loving shoves from his brash cousin, Jean, and the liberating realization that he’s gay, George will learn to love silence. He may even learn to love himself.
 
Hive      
WORLD Premiere I USA, 2024, 48 min.
DIRECTOR: Dan Jones
Five strangers wake to find themselves trapped inside a tacky, low-budget sitcom. Watched by an unseen audience ever hungry for entertainment, the reluctant ‘stars’ must learn to play along with their eerie ‘supporting’ castmates or risk being killed off for cheap laughs. Can they work together to uncover the mysteries of their captivity to escape? Or will they be consumed by the bright lights of ‘stardom’ and their darkest impulses laid bare?
 
Le Parrot   
USA, 2024, 12 min.
DIRECTOR: Rachael Sonnenberg
Three siblings return home for their mother's funeral. Chaos ensues when they realize their mother has left behind her pet parrot.
 
Like Comment Subscribe - Ep 1 (Pilot)     
WORLD Premiere I USA, 2024, 8.5 min.
DIRECTOR: Sabina Olivia Lambert
BFF's Avery and Meaghan are two of Toronto’s hottest influencers. As the face of Vaag, her mom Sasha’s vegan leather bag company, Meaghan stars in a sexy commercial featuring their newest satchel. Despite their artistic marketing efforts, the campaign is being ripped apart online for being trans-exclusionary. To recover from the scandal, Avery offers to step in and design an apparel line as a “glittery olive branch” for the queer community. Despite the risk, Sasha accepts his pitch, and warns Meaghan that her recently plummeting online metrics are a threat to the company.
 
Loft And Found      
USA, 2024, 30 min.
DIRECTORS: Pete O'Hare, Phillip Kibbe
Faced with rising rent and a final chance to live their dreams, five artists in their mid 30s run an event venue out of their sketchy Brooklyn warehouse loft. Navigating wild lifestyles, aging roommate drama, and the creep of modern anxiety, can they get their shit together? ...or at least make this month's rent?
 
Makeshift Society       
WORLD Premiere I USA, 2024, 23.5 min.
DIRECTOR: Serena Schuler
A female take on the tech industry, Makeshift Society is a comedy series about finding your misfit, makeshift family, and going after your dreams together. When suddenly fired by her tech bro boss, Alex discovers a converted warehouse of misfit founders fearlessly pursuing their dreams with their eccentric businesses. Inspired, she decides to embark on an adventure to go after her dream and build her own startup.
 
The Murder Network     
EAST COAST Premiere I USA, 2024, 23 min.
DIRECTOR: Christopher James Lang
A producer for a true crime docu-drama show, looking to prove herself, inadvertently uncovers a serial killer.
 
Nightfish      
USA, 2024, 23 min.
DIRECTOR: Sophie Niesenbaum
Nightfish follows the unlikely friendship of two overnight aquarium employees: Sam, a depressed security guard with thwarted ambitions of being a marine biologist, and Piper, a joyfully unbalanced trash-lover who is living out her dream of being a night janitor. In episode one, a dangerous break-in forces the unwilling Sam and overeager Piper to join forces to solve the mystery.
 
Passage     
WORLD Premiere I CAN, 2024, 15 min.
DIRECTOR: Karl Janisse
It’s 1914, and the crew of the SS Talaria descends into a puzzling charade of madness after departing the docks of Cairo. Emilia Duprey, a lone stowaway stealing passage to America, now finds herself entangled in a 100,000-year-old secret fueled by a mysterious entity infecting the minds of those on board.
 
Pike     
EAST COAST Premiere I USA, 2023, 15 min. 
DIRECTOR: Alex Klaus
A talent agent becomes disillusioned with his vacuous world of celebrity, decides to embark on a serial killing spree of anyone he deems guilty of having zero talent starting with his own celebrity client list!
 
The Pinto Variety Hour     
EAST COAST Premiere I USA, 2024, 23 min.
DIRECTOR: R.J. Sullivan
A misunderstood bean struggles to get the respect he wants as the host of a surreal variety show and the father of two teenagers.
 
Raging Doll      
WORLD Premiere I USA, 2024, 7.5 min.
DIRECTOR: Ruthie Marantz
A delusional millennial from The Bronx gets in the ring with a junior boxing champion known as The Smoke.
 
Rat Czar     
WORLD Premiere I USA, 2024, 12 min.
DIRECTOR: Ana Breton
Rat Czar is a comedy web series about New York's newly appointed director of rodent mitigation and her staff as they attempt to win an unwinnable war against both the Mayor of New York and the city’s growing rat population - which outnumbers them a million to one.
 
Running Erins     
USA, 2024, 35 min.
DIRECTOR: Guillermo Ivan
Finally, Erin Fogel has everything pretty much where she wants it. She and her ex are successfully co-parenting their son. Her best friend just moved in. She's dating again. Her parents are healthy. And while she's still sad about closing her yoga studio, she has a fantastic community of moms at her son's school to sustain her. But then a new mom joins their group, and she clearly has an axe to grind with Erin. Suddenly, everything Erin has worked so hard to build is in jeopardy, and she's got to figure out how to hold on.
 
The Self-Love Act       
USA, 2024, 20.5 min.
DIRECTOR: Kareema Bee
In this series hosted by Kareema Bee, a Black woman and artist explores her journey through self-love in dialogue with others, supported by The Big We Foundation. In this episode, Kareema finds out her African ancestry in an unexpected way, which catapults her into an exploration of her roots, only to find what she's been searching for may have been right in her backyard.
 
United Crafts Of America     
WORLD Premiere I USA, 2024, 47 min.
DIRECTOR: Sergio Camacho
United Crafts of America offers an intimate look into America’s most vibrant craft beer cities, uncovering the country’s most innovative breweries and the passionate people behind them. The journey begins with New York City's own Interboro Spirits & Ales, where co-owners Laura Dierks and Jesse Ferguson blend beer and hip-hop to create one of NYC's most influential breweries, breathing new life into the city’s rich brewing heritage. For these brewers, craft beer is more than just a beverage—it’s a symbol of identity, community, and pride. From the rustic charm of small-town breweries to the urban sophistication of city brewpubs, this series shows how craft beer is the story of America.
 
World Twistories     
EAST COAST Premiere I USA/UNITED KINGDOM, 2023, 22.5 min.
DIRECTORS: Brian Wallace, James Longley
World Twistories is an exciting new series that explores eccentric people and their offbeat ideas throughout history. Each topic explored is verifiably true, exhaustively researched, and presented by the effortlessly charming IG/Tik-Tok sensation Paul Longley. In this pilot episode, we look at a coffee shop that opened in London in 1703, but a coffee shop “with a twist“–in order to get their caffeine fix, patrons were required to speak Latin.